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Everything posted by Monarcheon

  1. I agree with mostly everything Samurai said. How long is this scene? Even musically untrained players will notice it's a very short loop and will start to become annoyed by it rather than immersed by it. Old NES games were notorious for this. Just a word of warning.
  2. Whoops... I didn't like that game too much, sorry! Regardless: 1) I see the inspiration. It didn't come out very well. It gives things away too fast and lacks the base that you've shown before. It feels very surface and I don't feel the same intensity from the original, whether or not it was supposed to be replicating it. 2) The chords in the original are: Em, C, D, Em, Em, G, Am, Bm Yours are: Em, G, Am, Bm, Em, G, Am, Bm Just for your reference.
  3. African desert? Djembe, conga, atenteben, kalimba Arabian desert? Tabla, sitar/sintir, lute, lyre
  4. This one is interresting because it seems to be almost in some sort of T&V rules... a progression with different takes on it. The only problem is that it never reinvents itself really. It largely stays monotonous throughout. I can never really get a sense of an STA. This is the danger of free form or improvisation I think you should keep in mind. Rarely are you going to get a result stays fresh throughout.
  5. Those are not the chords you used, exactly. You use both E major and e minor. You also use G-sharp minor, (iii chord) which you did not mention. This is a major improvement to what you had before, I'm impressed. You use some rather interesting changes and the feel of full sound is much more present in this piece. The clashing is minimized as well, but that's because you don't have a lot of countermelodies in this piece, which I would encourage you to add in other pieces. Development is something you're going to want to be wary of. A lot of composers seem to think that "sectionalized" works where everything is clearly laid out in sections cut off from each other counts as development, but it doesn't necessarily. It's not as bad here, but transitional work and flow between sections could improve your writing immensely. Good luck.
  6. The score's pretty well done. The transition from the dancing scene to the suspense scene (in terms of the music) felt rushed to me. Tones and styles collided and didn't really come off as smooth. Props to you though, it did feel like a trailer soundtrack, so I can't really fault you there.
  7. I'm pretty much with Luis here. I do quite enjoy the atmosphere you provide the listener; that really is good. But as a standalone track, it may lack the impact you wanted.
  8. This is more developed than the preview you sent me. If you don't mind, I'll do the review here. Chord progressions... for me, it seems difficult to get invested in a multiple arc story with the same chord progression and tempo throughout the movement. Yes, there are variations on it, and I see the merit in having parts of the old melody flourished in the subsequent ones. However, I don't feel the intensity of the story quite as much. Some of your melodies and countermelodies clash with each other and with the base chords. You don't have a score, so the section at about 1:41 is a good example; with the trombone countermelody. In your epic parts, especially the end, there also needs to be... not more drive, but more sound. I don't get a lot of bass voices in something I feel should be developing over time. It still feels like an exposition. Hopefully you know what I mean. Cheers!
  9. Is this supposed to loop, by chance? It's pretty short for an entire scene. I enjoyed everything but the string passage in the beginning. It killed the ambience the rest of the track provided decently well.
  10. I think we should be able to interpret, as part of music's power to communicate... that sounded overly dramatic, but I hope you know what I mean.
  11. @luderart "Very interesting and tempting competition!" - I'm glad you think so. As with all RSVP's, it allows me to know how many people are going in prior to the actual work the judges will have to do. It lets me allot my time better. I'm sorry if you disagree. Decent point. "They" is a term used to denote or address the gender non-binary or genderqueer. He or she sometimes don't work. In common practice, "he/she/they" means one singular person still. Perhaps? This means engraving, specificity, and labeling. I feel like you answered your own question here. Yes, all music is subjective, therefore 1 and 2 will remain that way as well. I put my best faith that judges will know how to properly interpret this. I feel like all the other criteria contribute to the overall "greatness of the piece", and thus having it as a separate category is kind of unnecessary. Again, my apologies if you disagree. I believe that's what Danish thought as well.
  12. I'm going to be honest here, and feel free to correct me if I'm totally wrong, but there doesn't seem to be much difference between this one and the frantic one, save the rattle and the placement of certain motivic variations. Most of my comments from that piece, thus apply to this one as well. Perhaps the loop is a little bit longer to accommodate more of a buildup but for a lay listener playing a game, I'm not sure the difference would be super noticeable; I personally wouldn't notice it playing a game, at least.
  13. I'm curious as to why you think that. It certainly fits all the criteria or the competition theme. Personally, I wasn't familiar with it initially, but can definitely see the merits of using it for these purposes. I hope you take this into consideration!
  14. I'm not normally a canon fan. but this was very well done. Is this a recording or an exported file?? Good quality sound with actual lyrics, thank God. I'm glad it didn't stay on "A" too long, and developed to the subdominant. Some of your parts, especially the strings, might get a little bored sometimes, but I get that sometimes the interest of the piece comes first. Very good work!
  15. Melodies generally need some sort of development. Sticking with one and repeating with the same progression can be really canonical and I don't think that's what you want (canons involve repeated melodies with repeated chord progression, like a round, or a synonymous passage). By waiting time I mean something like a note being hit and then waiting for the progression or melody to move on. Adding percussion could minimize it, but might end up being repeated time if you're not careful. By clashing I meant as soon as the main melody comes in there are E naturals and Eb's together and also Bb's and B naturals together at a given time. This piece sounds mostly tonal, so I wasn't sure if this is what you wanted, and thus gave you the benefit of the doubt that you meant it as part of your piece's theme.
  16. Hey, there! Was the mixing of minor and major 3rds supposed to be a tribute and light and darkness? It wasn't quite obvious. If it was, I think they could be implemented a little bit better, having them clash without warning, to me, was a little jarring. Very cool idea though. You use a couple things my old teacher would call "waiting time" and "repeated time". There's a lot of points in this where the audience has to hold up and wait for the next note in the progression. This can be used for effect, but can get tiring in large numbers. Same with repeated time, except that entails that you use repeated figures a lot. The ideas around it are cool and sounds like you put some thought in orchestration. Nice!
  17. @KJthesleepdeprived 1. I think that's fine; remember you have to link your piece in your description anyway, so obscurity isn't a problem really. Sorry if I put too much important on that in the rules; sometimes it just helps. 2. It just needs to be simple. I don't mean directly quoting the harmonies. The theme that you're using just needs to be very clearly defined. I'm just saying simpler harmonies would help do that. 3. No. That would be unfair to people who use more compact instrumentation. Hope this helps!
  18. Monarcheon


    Hi! Sometimes dissonances don't resolve, and that's okay! It can be cool when a piece plays on expectations. I just thought that wasn't what you were going for, so I pointed it out. Normally when a dissonance is involved in a tonal chord, it resolves upwards or downwards to ease the tension caused by the dissonance. The issue with crossed voices is that it just makes it harder to do that because the audience doesn't know where thing are being resolved from. By unfocused I mean it seems your parts seem to be doing their own things sometimes; not joined with the others. Remember this is just how I heard it. Cheers!
  19. I wasn't actually very familiar with him, so I looked him up, and what I heard I liked very much; I'm flattered! Thank you all for your comments!
  20. This was really beautiful stuff. Improvised or not, the voice leading in the piano was spot on and enhanced the experience by quite a lot. Modulations throughout the piece were very effective and expertly led into, as well. Nothing really seemed cluttered throughout, which is a feat considering all the motifs that repeat throughout. The intro I think may have underutilized the orchestra a little bit; for example the very first note is orchestra, then it is left out for quite a while. For me, it wasn't to the point of sparse, but it was a little awkward. The tempo modulation at 4:01 felt a little bit abrupt to me as well. I don't think it's too sentimental at all. It gives a listener plenty to be hooked on and remember throughout which is a very clever way to get your message across. Very lovely!
  21. My apologies if I came off as too harsh. My intent is to not force you to alter your piece in any way. As most, if not all music judging is, it's my personal opinion, and I will without hesitation say, I've only picked up Jazz in the last couple years, so if you are more accustomed to it than that, then consider what I have to say as mute. It really did a good job of being calm, it was merely my mentioning of my criticisms that made it sound worse than I think it is, and I once again apologize. I think my main gripe with your chord was I was expecting a resolution and it never really came. Cheers!
  22. The E natural and the D-sharp are clashing. That's all I'm saying. Maybe it's just the way it's played in the recording. Sorry, I misspoke. I meant that it was a little weird to me it was the same note twice. If you went the ninth, then the 7th, it might mitigate that a little bit. That's right. Whenever I want to end on that, though, normally I feel like it's built up to? Perhaps the fact the drum sound kind of comes in rather loudly made it seem that way. I will admit you lead into it well melodically, but something dynamic wise or harmonically, perhaps, should be added.
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